Headset.

[T i m]

<snip>

I think I remember paying quite a bit with my 'Sure Unidyne B' with my mobile disco. It might have just seemed expensive because it was one of the few bits I didn't build myself. ;-)

The head of the Music College recommended the mic she's just got and we are hoping that it will see her though a reasonable way if she does manage to follow her dreams as such. At least it will give her chance of producing reasonable *quality* music. ;-)

One disadvantage being vegans, no ready supply of egg boxes for her recording booth. ;-(

She likes creating electronic music and whilst she seems ok at it, I think it can be a bit 'cold' sometimes. When daughter was her age (and younger) she had various music editing PC packages and a decent SoundBlaster card / Panel in her PC and came out with stuff with a bit more feeling?

Oh, absolutely and I think that sort of thing is even more common in that field than many. It being more of a craft than a straight job as such.

It's funny, whilst I'm no muso and only really had the disco and helped daughter with her electric guitar / bass / piano - PA, it was good to be able to explain the concept of 'phantom powering' to the girls.[1] ;-)

Cheers, T i m

[1] Daughter asked for my opinion on the mic and I questioned what they were going to plug it into (especially because of the phantom powering) etc. Turns out she already had that preamp. ;-)

[T i m]

Hey, yeah. ;-)

I wonder if you can 'drop the mouse' in electronic music production? ;-)

Cheers, T i m

[Dave Plowman (News)]

Yes - often referred to as a black art. And the odd thing is the best musicians may not make the best recording engineers. As is the reverse.

One of the top music sound supervisors at BBC TV when I worked there could barely read a note of music, and played no instruments. This in the days when there were lots and lots of programmes with 'live' music.

[T i m]

<snip>

Like what I was setting up WiFi for people in the early days. ;-)

Yeah, I'm not surprised there was little crossover there. Muso's are creative and whilst you also need an ear to be a good recording engineer, I'm guessing much of it is more about the right levels and a good SNR than the pitch or content as such?

Being someone who can only play by ear, I've never understood how anyone (especially a muso) can't?

Now I get that someone has to read the dots / tab in the first place but only when it was in that form in the right place. And 'of course' I'm only talking the general tune here, not the detail of every note of every instrument. ;-)

We went over to a Yamaha Instruments open day at Knebworth House and we were surprised that the guy doing the main demos on their electric pianos couldn't play *anything* by ear? So daughter (then probably 12) sat down and played a range of tunes. ;-)

I think they have the mic set up and are giving it a try as we speak. Any tips re making some sort of anechoic booth or at least making a counter of her bedroom studio better for live recording (everything has been electronic up to now).

A low pile carpet or some NOS carpet tiles tacked up with double sided tape?

Daughter has a pair of small studio monitor speakers here we can get up there the next time she gets out shopping but apparently she has some good quality headphones that's she's using for now.

Cheers, T i m

[spuorgelgoog]

The most important seems to be acoustic absorbent behind the microphone - there are a variety of 'vocal booth' available from about £60 up - basically a cushion on a stand.

For panels,

and

etc

[T i m]

;-)

That looks very doable and right up their street, thanks. ;-)

The bedroom / studio is long and thin and I think there will be room for such panels at carious places around the room (doubling as art if the outer layer is a Hessian or canvas)?

I'm guessing that any fabric would do, if towels aren't available. We may have some heavy curtain material for example.

Anything easily moveable / removable would be good as it's a rented flat.

Cheers, T i m